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Johannes Brahms and Richard Muhlfeld: Sonata
in
F Minor for Clarinet and Piano, Op. 120 No.
1
by
Emily Tyndall
A Thesis
Submitted
in Partial Fulfillment
the
for
Music
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of Requirements of
Honors Program
Honors
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L
Johannes Brahms and Richard Miihlfeld: Sonata
in
F Minor for Clarinet and Piano, Op. 120 No.
Johannes Brahms (1883-1897) originally planned to completing his String Quintet
changed
after
in
G
Major
("Prater"),
from composing
retire
1
after
Op. 111. However, his mind was quickly
being inspired by the performances of Meiningen clarinetist Richard Miihlfeld
(1859-1907). Brahms enjoyed Miihlfeld's interpretation of the Weber's clarinet works, especially the Quintet, and
was impressed by
the instrument. Because of the
way
his ability to
demonstrates Brahms compositional
work
as well as the construction
Brahms' compositional
in
Brahms was able all
how
1,
of
produce the vital
in particular,
tendency to expand and reinvent
intimately
and tendencies of clarinets
to
registers
of which have become a
F Minor, Op. 120 No.
style, especially his
also demonstrates
style
between the different
two Clarinet Sonatas,
of the instrument's repertoire. The Sonata
classical forms. This
easily
Miihlfeld inspired him,
Clarinet Quintet, the Clarinet Trio, and
part
move
Brahms knew
in general.
The
Miihlfeld's playing,
perfect combination of
with Miihlfeld's musicianship and mastery of his
own
instrument
produced the F Minor Sonata. Johannes Brahms was born
in
Hamburg, Germany on May
Jakob Brahms, worked as a freelance musician playing the bass. His mother, Christiana
7,
1833. His father, Johann
flute, violin, cello, horn,
Nissen Brahms, was previously Johann Jakob Brahms' landlord and
was seventeen years older than him. Because of the conditions of Hamburg birth, there exists
a
Brahms family was
common
and double
at the
time of his
misconception that the Brahms family was in poverty. However, the
fairly secure financially
and had the resources
brother to attend a private school for boys. Johannes graduated
to
pay for Johannes and his
when he was
fourteen years old.
and much of his early training
in
music took place while he was a student
taught piano lessons to one of his professors.
Brahms began taking formal piano
lessons
when he was seven
first
the foundation for his great technique and taught
studied with Eduard
He even
1
received lessons on horn and cello as well. His
Brahms
at that school.
years old, and he later
piano teacher, Otto Cossel (1813-1865), laid
him
until
he was ten years old. After Cossel,
Marxsen (1806-1887), who was CosseFs
teacher.
Marxsen taught
both Brahms and his brother for free and gave Brahms his only formal lessons in music theory
and composition. Brahms gave his years old and gave his
first
first
when he was
solo performance for friends and family
public performance
when he was
professional pianist just before he turned sixteen (April
1
thirteen.
He made
ten
his debut as a
849) and included one of his
own
compositions in the performance. At the beginning of his performing career, he often performed in taverns
wealthy.
and dance
He
halls, for the
also earned extra
When he was
money
nineteen,
City Theater, and in private concerts given by the
for his family
Brahms began
They toured of a few small towns concert career as well as for
Hamburg
him
in northern
by teaching piano lessons.
a short recital tour with violinist Eduard Remenyi.
Germany
in order to help
some money and help support
to earn
marked the beginning of Brahms' career
as a composer.
to Liszt, Berlioz,
friends for the rest of his
violinists
took him to
of the time, with
Through Joachim, Brahms was introduced
life.
When Brahms
returned to
Hamburg
Styra Avins, "Johannes Brahms," from www.OxfordMusicOnline, Internet; accessed
2
Ibid.
own
and Robert and Clara Schumann. The Schumanns would both make a profound
impact on his professional and personal
1
life.
build his
his family. This tour also
On this trip, Remenyi
Hanover to meet Joseph Joachim, one of the most highly respected
whom Brahms remained
Brahms
1
in
December
October 2009.
1853 after completing the tour he had seven works that were soon to be printed by leading publishers.
Brahms never earned
royalties
on
his
works but was paid a
flat
fee for each
up
3
front.
After Robert Schumann's death in 1856, Brahms's output of compositions slowed and he spent time studying counterpoint with Joachim, the compositions of master composers, and revised
many of his
early compositions. For three seasons (September-December,
he was the choral director of the private chorus of Count Leopold
Lippe
is
a district in Northern Germany, and
the Franco-Prussian
known
War
in
1
871
for giving the Catholic
religion (Calvinism).
as well as
.
III
became
a part of the
in
zur Lippe (1821-1875).
German Empire following
Lippe the same rights as the
with becoming an established musician in his
home
city
Brahms was
Vienna
to establish his professional career in
after
also concerned
of Hamburg.
Hamburg by founding
chorus (1859), teaching, conducting, and working to revive his career as a travelled to
state
also the piano teacher to his sister, the Royal Princess Marie,
friends and family. In addition to his travels,
Brahms worked
857-1859),
supported Prussia during the war and was best
and Lutheran churches
Brahms was
some of her
Leopold
it
III
1
being rejected as the conductor of the
a
women's
soloist. In 1862,
he
Hamburg Philharmonic and
Choral Society. Brahms became the conductor of the Vienna Singverein in 1863, but he resigned after
only a year in order to devote more time to composing, performing, and getting his music
published. In 1875 he settled into his career of touring as a performer and conductor during the
autumn and in the
meet
winter, travelling during the spring, 4
mountains. Later, his
clarinetist
3
Ibid. 4
Ibid.
summer
Richard Miihlfeld.
and spending the summers composing - usually
sojourns would take
him
to
Meiningen, where he would
The Meiningen Orchestra was composed of only popularity,
was believed
to be able to play
members
and, at the height of
any of the most important works
without a conductor and without sheet music
Meiningen, the Austrian music
fifty
(if
in the repertoire
When
necessary) at a moment's notice.
biased.
6
There were also many festivals
many
in
Meiningen, similar to the Bayreuth festivals that
notable musicians.
In 1880,
Hans von Biilow was appointed conductor of the
Meiningen court orchestra. Von Biilow made the
entire orchestra stand while playing in
accordance with the old custom of court etiquette when the musicians, servants,
were not allowed
was a
*7
,
attracted
visiting
Hanslick noted that the orchestra consisted of forty-eight
critic
players of whom "the clarinets are good, but not equal to the Viennese," an opinion that
little
its
to be seated in the presence
of their master.
who were It
considered
was not
until
von
Biilow and his successor Fritz Steinbach Meiningen came to Meiningen that the orchestra
became one of the important orchestras in the beginning,
it
was
still
home
to
in
Germany. Even though
many very
this orchestra lacked prestige
talented musicians, including the Muhlfeld
family.
Muhlfeld was born
on June father,
1,
1907.
9
Leonhard.
He was
10
in Salzungen,
Germany on February
the youngest of four brothers,
all
28,
1
Meiningen. Wilhelm, Muhlfeld
skill to
1
s brother,
receive casual
Meiningen
in
of whom studied music with
Leonhard Muhlfeld led a small orchestra with the
trumpet and double bass with enough
856 and died
violin, but
employment
had a successful career
in
their
could also play
of Saxe-
at the court
Wiesbaden as a conductor.
5
Bernard Portnoy, "Brahms' Prima Donna," Woodwind Magazine (March 1949), Anthology l.asp?Anthology=9 [accessed December 2, 2009].
Pamela Weston, " 'Meine Primadonna': Muhlfeld"
in
http://clarinet.org/
Clarinet Virtuosi of the Past (Suffolk:
The Panda
Group, 1971), 214. 7
Portnoy, "Brahms' Prima Donna." George Toenes, "Richard Muhlfeld," The Clarinet, Anthology l.asp?Anthology= 12 [accessed October 1, 2009]. 8
9
no. 23
(Summer
1956): 22, http://clarinet.org/
Ibid., 23.
Pamela Weston, "Richard Muhlfeld," from www.OxfordMusicOnline, 2009.
Internet; accessed
1
October
oboist, trumpeter,
child.
When
was given a father,
was
and piano teaeher.
Muhlfeld began studying both violin and clarinet as a
he was ten years old he performed a clarinet solo silver
entirely his
1
Biichner.
pocket watch as a reward. With the exception of some instruction from his
1
who was
concertmaster
at
develop a playing style that
Meiningen, and music theory lessons from Emil
"
in the orchestra at
spas, under his father's direction until he
873 when he was only seventeen years old.
study violin with Biichner.
became
clarinetist,
the solo clarinetist for the
military service.
During
this time,
while visiting Bayreuth in the
In spite
of the
1
still
Wilhelm nd
Salzungen, a city most
violinist in the
move
Reif,
to
known
Meiningen Orchestra
in
Meiningen, Muhlfeld began to
in the
Meiningen Orchestra when
who was
in
Regiment from
1
poor health. Muhlfeld 876-1 879 as part of his
available to perform as a soloist with the
877 and to take part
in concerts
summer of 1876 and Christmas
Meiningen orchestra
held the post until his death.
After his
band of the 32
he was
Meiningen orchestra on October 20,
principal clarinet of the
13
became a
Muhlfeld began playing clarinet
he was asked to substitute for their also
to
own. Muhlfeld received some systematic violin instruction from Friedhold
Muhlfeld played the violin and clarinet its
a gathering of friends, and he
Muhlfeld was entirely self-taught on clarinet and was able
Fleischauser,
for
at
in
1878.'"
given by the orchestra
He was
appointed
1879 when Reif resigned the post
to
him and
16
fact that
he was very
critical,
von Biilow recognized Muhlfeld's
talent
and
allowed him to lead sectional rehearsals of the wind players. Those musicians were inspired by
11
12
13
14 15
16
Weston, '"Meine Primadonna': Muhlfeld," 21 Ibid., 210-212.
1
Weston, "Richard Muhlfeld." Toenes, "Richard Muhlfeld," 23.
Weston, "'Meine Primadonna': Muhlfeld," 212. Weston, "Richard Muhlfeld."
& 224.
his abilities,
and the attention
to detail they exhibited in their
performanees was attributed
to
Miihlfeld's leadership. Muhlfeld especially enjoyed Weber's music, and he introduced the
Meiningen orchestra
to the Clarinet Concertino
hundredth anniversary of the composer's
birth.
works, especially the Quintet, that would
later
by playing It
was
it
on a concert given
to celebrate the
also Miihlfeld's interpretations of
Weber's
convince Brahms to write his chamber pieces for
17
clarinet.
The Meiningen orchestra time Muhlfeld became one of the Bayreuth, Richard
visited Bayreuth frequently
Wagner
from 1888-1896, and during
family's most esteemed
Wagner heard him play and was
artists.
While he was
so impressed after hearing
that
in
him perform
Beethoven's Egmont overture with the orchestra that he told him, "Young friend, continue in
way and
V
1
the
whole world
is
open
the negotiations that took place
to you."
Wagner
when Breslau
this
also wrote a testimonial for Muhlfeld during
offered
him a job
as a clarinetist in their military
band, an offer Muhlfeld later declined. Siegfried Wagner, Richard's son, became good friends
with Muhlfeld and would always
visit the
Muhlfeld house when
In addition to his obligations to the
male voice choir director of the
the
in 1887.
Meiningen.
Meiningen orchestra, Muhlfeld began conducting a
This conducting experience prepared him to take on the role of music
Meiningen orchestra when Reif died
Meiningen court theater
instrumentalists
in
in 1890.
would come
to
19
As
in 1890.
He was
also
made music
director of
Miihlfeld's reputation grew, both singers and
Meiningen
to study interpretation with him.
Other than his orchestral performances, the works Muhlfeld performed most frequently
were the Mozart and Beethoven chamber works, DTndy Trio, Saint-Saens Tarantelle, Heinrich
17
Weston, "'Mein Primadonna': Muhlfeld," 212.
18
Ibid., 19
20
212.
Weston, "Richard Muhlfeld/' Ibid., 213-215.
Baermann Concerto, Reissiger Kalliwoda.~
Fantasie, and songs with clarinet obligato by
Many composers wrote works
Spohr and
especially for Muhlfeld, including
Waldemar von
Baussnern, Gustave Jenner, Henri Marteau, Carl Reinecke, Princess Marie of Saxe-Meiningen,
and Stanford and Theodor Verhey.
Gustav Jenner composed a Clarinet Sonata Op. 5 "for
dear friend Muhlfeld" in 1900 In 1901, Carl Reinecke dedicated his Introduction
Op. 256 to Muhlfeld. Sir Charles Stanford also dedicated his Concerto Op. 80 later
his
and Allegro,
to Muhlfeld, but
crossed out the dedication since Muhlfeld never played the piece. Henri Marteau, the
famous French
violinist, often
performed chamber music with Muhlfeld and dedicated his
Quintet composed in 1907 to Muhlfeld's memory. Pamela Weston, a prominent clarinet teacher
and historian, says of Muhlfeld's success, "His fame had arrived almost overnight and before long he would be the most sought after clarinetist in the world."
though he never wrote anything for the clarinet specifically. following: Concert Overture (1879),
Romance
None of these manuscripts
Orchestra (1897).
for
Some of his works
Trombone
survived.
Muhlfeld was also a composer, include the
(1879), and Festival
March
for
24
Muhlfeld's instrument played an important role in creating the sound and playing style he
was most known
for.
Muhlfeld played an advanced Muller-system clarinet made by Georg
Ottensteiner in Munich, which
Baermann was key system
is
the
same type of instrument
the principal clarinetist in
that
was used
that
was played by Carl Baermann.
Munich and worked with
for the Ottensteiner clarinets.
It
Ottensteiner to develop the
was constructed with eighteen keys and
several rollers to facilitate sliding. Muhlfeld also had a thin strip of metal affixed to the
21
22 '
Weston, '"Meine Primadonna': Muhlfeld," 227 & 233. Weston, "Richard Muhlfeld." Weston, "'Meine Primadonna': Muhlfeld," 218.
24
Ibid.,
233.
mouthpiece to cushion his top metal ligature.
teeth,
and he
tied his reed to the
*
The more modern instruments
at this
time were
technical passages than Miihlfeld's clarinet, but
little
more
difficult. Miihlfeld's clarinet,
cumbersome
to play
to play, but
was
ease than
possible
made
it
much
better suited for playing fast
made smooth
transitions
possible for
him change
registers with
apart
from other
registers a
artistic vision.
much more
grace and
In other words, Miihlfeld deliberately chose
an instrument that was a downgrade from more current models
own
between
on the other hand, made technical passages more
on these newer instruments.
in order to preserve his
him
mouthpiece instead of using a
that
were readily available
This was one of the most important things that
set
clarinetists.
In addition to his choice
center or tuning system. This
of instrument, Miihlfeld was used to playing using a lower pitch
made
his
sound much darker and broader than the sound of
instruments tuned to the modern tuning system. In Vienna, Miihlfeld's pitch tendency was criticized as being excessively
the depth of pitch
heavy and over-powering, but
was considered a
often present a problem
when
in
England as well as other places
positive contribution to the richness of his tone.
Miihlfeld
pitch tendencies, since his instrument
would play with a piano tuned
would be extremely
flat
to
This would
match more modern
when played with
the piano.
Before meeting with Clara Schumann to play Brahms' sonatas, Miihlfeld mailed her his tuning fork and
Brahms explained
25
Ibid.,
that he
had
difficulties
matching his clarinet to other instruments and
212.
Styra Avins, "Performing Brahms' Music: Clues from His Letters," in Performing Brahms: Early
Evidence of Performing
Style, ed.
Michael Musgrave and Bernard D. Sherman. (Cambridge: Cambridge University
Press, 2003), 12. 27
Weston, "'Meine Primadonna': Miihlfeld," 210.
hoped
that she
would
alter her
October 1894 to explain the
And now I have
piano to match his tuning fork.
Brahms wrote
to Clara in
situation:
to tell
you about something which
will cause us both a little annoyance.
Miihlfeld will be sending you his tuning fork, so that the grand piano to which he
play
may be
tuned to
it.
His clarinet only allows him yield very
In case your piano differs very
much
purpose, perhaps Marie will sacrifice
to other instruments.
and you do not wish to use it for this herself and allow her grand piano or her upright 29
glance the fact that Miihlfeld would ask another musician, especially someone as well-
first
respected as Clara Schumann, to alter her
when
to
in pitch
piano to be tuned to Mtihlfeld's fork?!
At
little
is
in fact
it
was
own
instrument to suit his
the construction of Miihlfeld' s instrument that
play in tune with Clara's piano without retuning Miihlfeld quickly
may seem
made
it
presumptuous,
impossible for him to
it.
became well known and
built
up a reputation
for being
an excellent
musician and performer. In her book Clarinet Virtuosi of the Past, Pamela Weston says:
was he a fine clarinetist, but also an innately perceptive artist, whose sense of and wealth of expression enabled him to give the composer's works that richness and vocal quality that are their very essence. [...] He was able, perhaps as no other clarinetist has been able, to carry audiences to a real fever of excitement. The impression he made was less that of a superb executants on the clarinet than of an ultra fine artist who had merely chosen the clarinet as his medium of expression. .
.
.not only
style
Miihlfeld gained a good reputation for his solo performances of the
concerti.
showed
'
He
Weber and Mozart
also played an important role in establishing the clarinet as a solo instrument and
the importance of interpretation over brilliant technique and flashy execution.
performances were said to have been dramatic and very moving.
28
29
33
His
In addition to the attention he
Portnoy, "Brahms' Prima Donna."
Berthold Litzman, Letters of Clara
Schumann and Johannes Brahms 1853 - 1896 (Westport: Hyperion
Press, Inc., 1979), 267. 30 31
32
Weston, "'Meine Primadonna': Muhlfeld," 209-210. Portnoy, "Brahms' Prima Donna."
Richard K. Weerts, "Early Virtuosi of the Clarinet and their Contributions,"
[Fall 1964], http://clarinet.org/Anthology 33
Weston, "Richard Muhlfeld."
NACWPI Bulletin
l.asp?Anthology= 13 [accessed October 1,2009].
13,
No.
received from his colleagues in Meiningen, Muhlfeld received several decorations from the
of Saxe-Meiningen and received the Royal Bavarian Gold Medal of Ludwig for his
skilj,
knowledge, and industry, and partly because of his association with the Wagner family. Princess Marie of Saxe-Meiningen
became fond of Muhlfeld and dedicated
a
Duke
Romanza
34
to him,
35 which he played with orchestral accompaniment on several occasions.
Brahms was
In 1881,
Meiningen their
to hear
invited by
performances
von Bulow
at the festival
and
as the guest of
to
perform his second piano concerto during
"Brahms Series" of performances. Von Bulow was
music
Meiningen and encouraged the Duke's
in
Duke George of Saxe-
also an important
interest in
Brahms and
champion of Brahms'
his music.
36
The
Meiningen court orchestra, under von Bulow and his successor General Music-Director Steinbach,
became
the ensemble to give the
Brahms developed a good
music.
Fritz
most widely accepted performances of Brahms'
relationship with the
Duke and made
frequent visits to
Meiningen. In 1891
Brahms began
to write for him.
to
admire Muhlfeld and his performances and became determined
Up to this point, Brahms
had not composed any chamber pieces which
included the clarinet, though he favored the instrument in his symphonies and serenades,
which were completed before he met Muhlfeld. Brahms of the clarinet sound, which
made
the
is
why he was
most of the instrument
all
of
particularly enjoyed the blending quality
so pleased to find a clarinetist like Muhlfeld
in his exceptional solo performances.
39
Weston
who
says:
It was no ordinary clarinetist, but a musician, with practical experience in most of the main branches of the art, who now asked to exhibit his entire repertoire of solo works,
34
Ibid. 35
36 37
Weston, "'Meine Primadonna': Muhlfeld," 212 Ibid., 213-215.
& 23
Portnoy, "Brahms' Prima Donna."
38
Ibid. 39
Ibid.
10
for
The impact of his playing was electrical and Brahms announced there and then his intention to write some chamber works for Muhlfeld. He discussed every aspect of the instrument's capabilities and asked again and again for the 40 Mozart Quintet and Weber concertos. the benefit of the composer.
Shortly after hearing Muhlfeld play for the
17,
1
891 "If you had :
come
here this
time,
week you would have
and the Haydn Variations, for instance, the very It is
first
Brahms wrote
heard, in addition to
to Clara again
clarinet player as they
art has, for
my
on March symphonies
[Weber] F minor Concerto for the
fine
impossible to play the clarinet better than Herr Muhlfeld does here."
Brahms wrote
to Clara
41
Later, in July 1891,
and said of Muhlfeld's playing: "You have never heard such a
have there
in Muhlfeld.
He
absolutely the best
is
The
various reasons, deteriorated very much.
I
know. At
clarinet players in
all
events this
Vienna and many
other places and quite fairly good in orchestra, but solo they give one no real pleasure."
was not
the only one to be impressed with Muhlfeld's abilities.
von Herzogenberg wrote No.
1
in
C
Muhlfeld
to
Brahms
is
On
fine!"
he asked the clarinetist to play a private
43
Brahms was
recital for
Brahms
January 15, 1882, Elizabeth
Meiningen orchestra play
after hearing the
Minor: "But the Meiningen clarinetist
that
clarinet.
his
Symphony
so impressed with
him before he began work on
his compositions for clarinet.
Even though Muhlfeld was twenty-three years younger than Brahms, developed a close relationship that lasted for the
of Brahms into Muhlfeld's
beyond
all
40 41
42 43
life
rest
of Brahms'
life.
Weston
44
Brahms introduced Muhlfeld
as "Fraulein
Weston, '"Meine Primadonna': Muhlfeld," 215-216. Litzman, Letters of Clara Schumann and Johannes Brahms I'85 3- 1 896, 191. Ibid., 196.
Weston, "'Meine Primadonna': Muhlfeld," 214. Ibid.,
two of them
says,
"The coming
and the subsequent tours they did together had enriched
possible conception."
44
the
230. 11
that life
von Muhlfeld,
meine prima donna/" Brahms also referred Clara
Schumann was
sonatas with him.
46
also very impressed with Miihlfeld
Brahms wrote
to
and had the opportunity
Joachim on October
Clara to play the sonatas: "In that case
I
would come
too,
bring a viola part with me-to two clarinet sonatas that
I
would
would
Brahms on March
45
to play the
1893 about getting together with
14,
either invite Miihlfeld along or
like to let
These undemanding pieces would not disturb our contentment-but hearing them play together, Clara wrote to
of the orchestra."
to Miihlfeld as the "nightingale
1
8,
1
wonderfully, he might have been specially created for your works.
would be nice!"
it
894,
I
Frau Schumann hear.
"And
the
marveled
47
man
After
plays so
at his
profound
1894,
"We
AQ
simplicity and the subtlety of his understanding,"
set the clarinet player in gold."
From the
later,
on September
8,
should
4
their first meeting,
Weber and Mozart
and
concerti.
Brahms was
50
inspired by Muhlfeld's tone and his execution of
Agility, or technical flare, is not the focus
of the clarinet
works, with the exception of a few key moments. In spite of the occasional "allegro" tempo markings, the faster movements of these works
was Muhlfeld's this talent
abilities as a solo
was lacking
Brahms mentioned that in
Vienna the
Brahms
along without feeling rushed or hasty.
he thought that the
clarinetists did only well
art
of that time. In his
letters to
Ibid., 46
47 48 49 50 51
52
Clara Schumann,
of clarinet playing had greatly deteriorated, and
enough
to satisfy the
needs of the orchestra/
called Miihlfeld "absolutely the best wind-instrument player
45
It
performer that most impressed Brahms, since he believed that
in nearly all clarinetists
that
move
I
know."
53
Even one of
216.
Portnoy, "Brahms' Prima Donna." Styra Avins, Johannes Brahms: Life
and Letters. (Oxford: Oxford University
Litzman, Letters of Clara Schumann and Johannes Brahms Ibid., 262.
/ 553-1896,
Press, 1997), 719.
222.
Portnoy, "Brahms' Prima Donna." Conrad Wilson, Notes on Brahms: 20 Crucial Works. (Edinburgh: Saint Andrew Portnoy, "Brahms' Prima Donna." Weerts, "Early Virtuosi of the Clarinet and Their Contributions."
12
Press, 2005), 106.
:
Brahms's patronesses, the Baroness Helene von Heldburg, was very impressed by Miihlfeld's playing.
Brahms wrote
to her
on July 25,
1
891
has not escaped me (just between us) how partial you are toward the Ducal K(ammermusiker] and M|usic] Dir[ector] Muhlfeld, and I have often wistfully observed how painstakingly and inadequately your eye sought him out in his orchestra seat. Last winter, at least, was able to place him out in front - but now - I am bringing him into My Lady's chamber, he is to sit on your chair, you can turn pages for him and employ the rests I grant him for the most intimate conversation.... And by the way, your M. is simply the best master of his instrument, and for these pieces I wish to consider absolutely no It
I
place other than Meiningen.
It
was not long before Brahms
set to
work on what would become one of the most important
contributions to the clarinet repertoire.
Brahms had Viola Quintet in
his
G
originally planned to
Major, Op.
Ill,
end his compositional career with the completion of the
but Muhlfeld persuaded him to
book Notes on Brahms: 20 Crucial Works, Conrad Wilson ...it is
hard not to feel that here, right
at the
compose
for the clarinet."
In
says,
end of his career, Brahms was only just
beginning to resolve some of the problems that beset him in his earlier chamber music, especially in terms of clarity of texture.
Above all, these works have a very personal comment about some of his piano pieces of the
pensiveness that brings to mind Brahms's
same
period. 'Even one listener,' he remarked,
'is
too many.'
Besides being very personal, most of Brahms' compositions, including those he wrote later
life,
were also meant
that
had parts
little
that
to
be enjoyable to the performer. Brahms once criticized a piece of music
were unpleasant
to play, saying,
pins in a music box. But a musician
always have something to say. resolution."
54 5
56
57
57 It is
in his
If
is
"You
give people individual notes like the
not a musical box, he
is
a
human
being; he must
you give him the dissonance, you must also give him the
no wonder then
that,
Avins, Johannes Brahms: Life
though
difficult at times, the clarinet
and Letters, 686-687.
Toenes, "Richard Muhlfeld," 25. Wilson, Notes on Brahms: 20 Crucial Works, 106. Avins, "Johannes Brahms."
13
works are enjoyable
to play.
It is
enjoyable
it
The
more than
was
for
likely that
him
to
Brahms
listened to MiihlfelcTs opinions
when
it
came
perform these works.
and quintet were composed during Brahms' annual summer residence
trio
how
to
These works were performed from the manuscripts by the Joachim Quartet, which was considered
for the
at Ischl.
Duke"s court on November 24,
1
891
be one of the most famous of its time.
to
Joachim also praised Muhlfeld' s playing, claiming
that
no one could out do him
delivery. "Muhlfeld, with his superb-tone Ottensteiner clarinets
and
in the art
string-like style
of
of playing,
and the Quartet, each possessing a Stradi varius of the very best period, produced a homogeneity of sound which can well be imagined." Clara
Schumann wrote
been born for time
it
this
in her diary
is at
December
clarinet sonatas
Steinbach and his wife would
the sonatas in
...I
am
delicate,
62
to visit.
warm, and unaffected and instrument."
As
plays!
They
if
at the
he had
same
also premiered
6
were completed
come
"And how Muhlfeld
command of the
12, 1891.
Ischl to rehearse the sonatas with the
work on
17, 1893:
once
perfect technique and
these works in Berlin on
The two
After hearing a performance of the Clarinet Quintet,
on March
work. His playing
shows the most
59
in Ischl
by the middle of September, when
Fritz
Towards the end of September, Muhlfeld came
composer.
63
Brahms wrote
to Clara
Schumann about
to
his
August 1894:
expecting the visit of the clarinet player Muhlfeld, and will try two sonatas with
we may
wish you could be with us, for he plays very beautifully. If you could extemporize a little in F minor and E-flat major you would probably chance on the two sonatas. I would send them to you because you could play them quite comfortably, but the clarinet would have
him, so
to
58 59
63
64
celebrate your birthday with music.
Portnoy, "Brahms' Prima Donna."
Weston, '"Meine Primadonna': Muhlfeld," 217-218. Ibid.,
62
possible that
be transposed and that would spoil your pleasures.
60 61
it is
222.
Weston, "Richard Muhlfeld." Weston, "'Meine Primadonna': Muhlfeld," 223. Portnoy, "Brahms' Prima Donna." Litzman, Letters of Clara Schumann and Johannes Brahms 1853-1896, 262.
14
[...]
I
1
He wrote
with him: "As, however, Miihlfeld
Vienna
to try them.
I
wish
I
could
nearer his
home
to
remain
home
with the sonatas."
at
which
possible for her to hear
Would you
I
I
would
him play
kindly
Miihlfeld and
th
on September
to her again
let
were
1
is
as
it
came
closer to time for Miihlfeld to try the sonatas
come
anxious to hear the two sonatas, he will probably
make
the matter simpler for him. Perhaps there
also gladly go....
In October,
Meanwhile, perhaps
Brahms wrote
it
is
may
to
be a town
me to
better for
to Clara again in order to
make
the sonatas with Miihlfeld:
me know
it would be convenient to you if th you on November the 12 ? I should be
by return whether
to play the sonatas to
you were to write me a kind yes'.... We might play the pieces you on the preceding day so that you could thoroughly appreciate them on the day
tremendously pleased
it
k
if
to
66 itself.
After getting to hear the sonatas, Clara wrote to
Brahms on October
hear the sonatas the better pleased
They gave
I
shall be."
the
first
19,
1
894,
".
.
.the oftener
private performance of the
sonata soon after for the Duke's court in Meiningen at the palace of Berchtesgarten.
wrote to Gustav Wendt on September
tomorrow
for a
few days
then think of you, to
in
1
7,
1
894 shortly before the
Berchtesgaden, where Miihlfeld
whom I would gladly have
is
first
performing rights during his lifetime,
65
Ibid., 66
58
6
the fees
263.
Ibid.,
264.
Ibid.,
265.
37
all
Portnoy, "Brahms' Prima Donna."
Avins, Johannes Brahms: Life
performance: "I leave
granted this pleasure."
performances with Miihlfeld in Germany and Austria so
and Letters, 1\ 723.
from
much
Brahms
to play splendidly for us.
premiered publicly by Miihlfeld and Brahms in Vienna on January that
I
7,
69
I
shall
The sonatas were
1895.
Brahms enjoyed
he gave him
their joint performances,
all
the
and the
his
.
manuscripts for the two sonatas after they were published.
70
Supposedly, the early editions of the
sonatas said that they were written for "piano and Miihlfeld" rather than "piano and clarinet."
After the sonatas were published, the last page of the E-flat wrote:
remembrance wrote a
as the master of his instrument!
letter to
sent the manuscripts back to Miihlfeld
"To Herr Richard Miihlfeld J.
Brahms,
when they were
sold at an auction to the Robert
currently located at the Pierpont
Morgan Library
in
Summer
'95.
,,/2
Brahms
also
performing rights and performance
him during Mtihlfeld's
1907 from a cerebral hemorrhage, his family remained
recently
all
and on
in affectionate grateful
Ischl in
Miihlfeld saying that he had arranged for
fees for the sonatas to be paid solely to
in
Brahms
71
lifetime. After Miihlfeld's death
in possession
Owen Lehman
New York City,
of the manuscripts Collection,
which
until
is
but the letter has long since
7-3
disappeared.
In the late 1880's,
Joachim
set out to secure
performances for Miihlfeld
England.
in
He
wrote to Sir Charles Stanford on December 16, 1887 saying that Miihlfeld was "...a stupendous -
fellow;
I
never heard the likes of his vivacity of tone and expression.' "
In England, Miihlfeld
performed Brahms' works with the Joachim Quartet and Fanny Davies on piano. spending two years with Robert Schumann
at the
Fanny Davies made her performance debut
in
Hoch Conservatory
England
in fall
~
in Frankfurt
After
(1883-1885),
of 1885. She became one of the
regular pianists on Arthur Campbell's series of popular music concerts,
which
later
gave her the
opportunity to play Brahms' s chamber music with Richard Miihlfeld and other musicians
70 71
72
73
Weston, "Richard Miihlfeld." Henry S. Drinker, The Chamber Music of Johannes Brahms (Philadelphia: Elkan-Vogel Co., 1932), 61 Weston, "'Mein Primadonna': Miihlfeld," 227. Weston, "'Meine Primadonna': Miihlfeld," 227.
74
Ibid., 75
who
218.
Weston, "Richard Miihlfeld."
16
worked with the eomposer on
his music.
Miihlfeld's
England took place with Fanny Davies on June 24, 1895.
The English premiere took place
at St.
performance of the sonatas
first
77
James's Hall
in
London. Muhlfeld made the
especially for this performance after concluding his performances of the
Vienna, Leipzig, Frankfurt, Merseburg, and Meiningen.
78
London, played by Muhlfeld and the Joachim Quartet, a Muhlfeld
is
a superlatively fine
artist,
and not only
in
works with Brahms
in
After the Quintet was premiered in
critic for
The Times
stated,
his tone, but the perfection
the depth of his musical expression, and his absolute ease
trip
and
finish,
"Herr
of his phrasing,
mark him
as a player
altogether without parallel in England at least." Muhlfeld developed a great following in
England, and in addition to his earlier except for 1903 and 1904.
returned to England every year from
visits,
He performed
in
1
899
to
1
907,
London, Bolton, Cambridge, Chislehurst,
Helensburgh, Malvern, Manchester, Oxford, and York. The entire Meiningen orchestra visited
England
in
1
902 and they received a great reception. Muhlfeld returned
Joachim Quartet It
clarinet
in
to
England with the
April-May 1906.
was not long
after
Muhlfeld and Brahms finished touring together performing the
compositions that Brahms' health quickly deteriorated. The
last
piece
Brahms heard
Muhlfeld play was the Weber Quintet, per the composer's request. Muhlfeld saw Brahms for the last
time on March 25, 1897
reluctant to leave his friends
Brahms died
in
when they were dining with and kept and
"Oh, leave
me
Vienna, Austria of cancer just before his 64
had been a dominant musical figure
George
said,
friends. After their meal,
S.
in
Vienna
th
a
little
while,
on April
3,
for the last twenty years
Bozarth, "Fanny Davies and Brahms' Late
Chamber Music,"
it is
so lovely here!"
1897. Because
of his
in
Brahms was
life,
Brahms
Vienna
Performing Brahms: Early
Evidence of Performing Style, ed. Michael Musgrave and Bernard D. Sherman (Cambridge: Cambridge University Press, 2003), 170. 77
78
Weston, "'Meine Primadonna': Muhlfeld," 227. Bozarth, "Fanny Davies and Brahms' Late
Chamber Music." 17
190.
9
declared a day of mourning and buried him in an honorary grave between Beethoven and
Brahms was one of the four
Schubert.
being Franz Schubert, relatively long
life.
great 19
th
century
German
Hugo Wolf, and Robert Schumann, and
Brahms's pall-bearers included
lied
composers, the other three
the only one to have lived a
Fritz Simrock,
one of the leading publishers
of Brahms' music, Eusebius Mandyczewski, a musicologist, composer, and Brahms' close personal friend, and Antonin Dvorak, to
whom Brahms
had often given encouragement.
Miihlfeld returned to Meiningen soon after and received the
3,
The Duke wanted
1897.
news
that
to send Steinbach as his representative to
Brahms was dead on
Brahms's
the orchestra,
were asked
to go.
funeral, but
who was
Steinbach was away and unable to attend. Miihlfeld and Bram-Eldering,
Brahms's works known wherever he went. Miihlfeld had a large in the living
and most
portrait
to
make
of Brahms placed on
room of his home.
Brahms' Sonata beautiful
the leader of
Following Brahms's death, any time Miihlfeld travelled to
Vienna he would make a point of visiting the composer's friends and continued
and easel
April
in
F minor
for Clarinet
works
perform
difficult
to
and Piano, Op. 120 No.
1
is
one of the most
in the clarinetist's repertoire. In this
work, Brahms
melodies include frequent changes between registers, which are difficult to execute properly on
modern
clarinets. In the viola
to execute
and violin transcriptions of this work, the range changes are easier
though not as dramatic as they are when played on the
these dramatic leaps with
interpretations
on
complex ensemble writing and
classical
forms
to create a
work
79
80
Sonata. Conrad Wilson says,
Avins, "Johannes Brahms."
Weston, "'Meine Primadonna': Miihlfeld," 229-231, IS
Brahms combines
century expansions and
that is beautiful
Brahms. These characteristics of Brahms' compositional
movement of the F Minor
th 1
clarinet.
and very characteristic of
style are exhibited in the first
"Though marked Allegro appassionato.
the
movement of the F minor Sonata
first
flow of melody,
much of it subdued v
is
a sort of Valse melancolique, a sustained, lyrical
yet periodically flaring up with big piano chords in the old
1
Brahmsian manner."
The
first
movement of the F Minor Sonata
true to the traditional parameters for sonata form,
sonata form. In this case,
is in
though he adds his
own
frequent modulations to color each of the major parts of the form. Also,
attention to the relationship
between a theme and those
that
Brahms
touch by using
Brahms paid
came before
stays
it,
close
creating a sort of
melodic cohesion that holds the movement together throughout each of the major sections of the sonata form. before the
~
The exposition begins with a
first
theme
is
played by the clarinet. Originally, the
(measures 5-12) were written revised
is
it
short, four-bar introduction
down an
is
eight bars of the clarinet part
octave, but editions in the manuscript
to the current version shortly after playing
unknown whether the change was suggested by
theme
first
played by the piano,
it
with Muhlfeld for the
shows first
the clarinetist or the composer.
that
Brahms
time, though
The
it
principal
constructed like a typical Classical theme or musical sentence, an appropriately
constructed phrase for the opening of a sonata form
and
is
composed of two smaller
parts.
As
Margaret Notley says, "...certain themes by Brahms, such as the one that opens the F Minor Clarinet Sonata, appear to transmute specific Classical types, precluding the possibility he sought
such originality even
81
82 83
if
we
did not
know
his attitude
toward these matters."
Wilson, Notes on Brahms: 20 Crucial Works, 106-107. Ibid., 101. Ibid., 101.
84
Daniel Gregory Mason, "The Clarinet Sonata in F Minor, Opus 120, No. 1" Brahms. (New York: The MacMillan Company, 1933), 248. 85 in
Margaret Notley, "Alternative Dichotomies and Over Determined Form
Lateness and Brahms: Music and Culture
in the Twilight
Press, 2007), 101.
19
in
The Chamber Music of
in the F Minor Clarinet Sonata," of Viennese Liberalism. (Oxford: Oxford University
The second theme, section
first
is
more
part with
its
6
restless rhythm. •
*
-a
•
motives from piano introduction that
theme,
is
also
composed of two smaller
quiet and serious, in D-flat, while the second section
•
/-»
like the first
The
D-flat
theme (measures 38-52)
is
C
The
first
minor, contrasts the
based on augmented
<>*7
r»
+
in
is,
parts.
in the first four bars
of the movement.
It is
this type
of writing
demonstrates Brahms' attention to detail and his desire to relate each of the themes
presented in this
movement
to
each other. This second theme
is
another example of Brahms'
tendency to expand and re-invent Classical forms. In this case, the second theme of an F minor sonata form would be written in the dominant key (C major) or the relative major/mediant (A-
flat
major). Instead,
Brahms modulates
to D-flat major,
which
is
the submediant in F minor.
A
no
short concluding
theme completes the exposition.
Following the exposition, the development section begins with a direct modulation to Aflat
Major (measure
90). This is
section of a sonata form
is
an unusual choice of key since, typically, the development
used to
mood
move
to a
more
distantly related key.
than the rest of the piece thus
in a
completely different
line
mixed with less-complicated harmonic
material. Daniel
far,
The development begins
with a simple, flowing melodic
Gregory Mason says, "Here
we
find
the final flowering of the chord-line motive of [measure] 93... allowed to generate a five-bar
phrase, quite uneventful but full of the covert, almost repressed beauty characteristic of late
Brahms."
89
An
early sketch of the first
movement shows
that
Brahms was very concerned with
"coordinating the small-scale rhythms arising from motivic development (as in measures 1-4)
with both the more slowly moving rhythms created by the succession of phrases and the
Mason Daniel Gregory Mason, "The Clarinet Sonata in F Minor, Opus 120, No. 1" in 77?^ Chamber Music of Brahms. (New York: The MacMillan Company, 1933), 249. " Notley, "Alternative Dichotomies and Over Determined Form in the F Minor Clarinet Sonata," 104. 88 Mason, "The Clarinet Sonata in F Minor, Op. 120, No. 1," 250. 89
Ibid.,
251.
20
placement of important cadences" as the leading tone in F
modulates again,
this
90
minor and
He
is
a
then
little
moves
more
distant than A-flat. In
time to C-sharp minor, which
is
Approximately one page of the development section following the modulation to
mood, modulating
E Major. The
development, a re-transition begins 132, before returning to
F Minor
part,
in
in
is
which functions
measure
he
13,
a very distant key from F minor.
is
devoted to developing the second theme,
measure 125, and modulates again
Brahms adheres
triplets in
1
next portion of the development creates a stormier
The
to the traditions
to
91
Following the
E Major
in
measure
of sonata form when
it
comes
to the
recapitulation begins in measure 138, with the
theme beginning an octave lower than
embellishment of the
which
00,
measure 138 for the recapitulation.
recapitulation in this particular work.
principal
1
C-sharp Minor and briefly developing the principal theme.
to
For the most
E major in measure
to
its
original occurrence,
and the added
measures 139 and 141. This time, the second theme
also typical of Classical sonata form.
Brahms then
returns to
F minor
in
is in
F major,
measure 165
before the coda, which begins in measure 214.
Brahms had a strong aversion constant practice with a metronome.
to the rigidity
Brahms wrote
of tempo this in
that
was
the inevitable result of
response to his tempo markings in the
Requiem: In
my
view, the metronome isn't worth much;
at least,
has withdrawn his metronome markings sooner or
Requiem
are there because
believed that elastic
tempo
good
friends talked
my blood and a mechanical is
not a
new discovery,
me
I know, many a composer Those which are found in the them. For I myself have never
so far as
later.
into
instrument go well together. The so-called
after all,
and
to
it,
as to
many
another, one should
attach a "con discrezione."
50
Form in the F Minor Clarinet Sonata," 99. Mason, "The Clarinet Sonata in F Minor, Op. 120, No. 1," 250-251. 92 See Appendix Example for a line graph of the form of this movement. 93 Styra Avins, "Performing Brahms's Music: Clues from His Letters," in Performing Brahms: Early Evidence of Performing Style, ed. Michael Musgrave and Bernard D. Sherman. (Cambridge: Cambridge University Notley, "Alternative Dichotomies and Over Determined
91
1
Press, 2003), 21-22.
21
This
is
important to remember
movement, since adhering expressed in the work.
It
when playing
to a strict, arbitrary
would be wise
to
F Minor Sonata,
the
tempo would
assume
that
limit the
particularly the
many
different
first
moods
Brahms did not include exact tempo
markings for these works because such arbitrary assignments would take away from the expressive music he intended.
Conrad Wilson describes the second movement as "...more of the same, but with a nocturnal stillness even
and
turns,
which haunts the
poco Adagio,
movement
more touching and a musing theme
is
is
entire course
very different from
many of Brahms's
perfectly suited for the clarinet. This
incredibly soft volumes while
how
of the music."
intimately
still
of tender twists
This movement, marked Andante un
compositions, because this particular
due
to the fact that the clarinet
can play
at
being expressive and giving direction to a phrase. This shows
Brahms understood
attention to MiihlfekTs playing.
is
94
for the clarinet, full
the instrument, particularly due to his enjoyment and
However,
this
makes
the
movement arguably much
less
compelling when played on the viola or violin.
The second movement "Whether
for the simplicity
is in
a simple ternary
(ABA') form,
also a song form.
Mason
says.
and homogeneity of its form, based entirely on a single theme and
using only identical contrast, or for the gracious curves of its melody, or for the purity of its partwriting and
its
exquisite use of the lyric powers of the clarinet, this
lovely of all the slow movements."
measure 26. The theme the
movement
94
is
is
96
The
one of the most intimately
A section begins in the first measure and ends in
played by the clarinet with the piano accompanying. This section of
very simple and stays in the tonic of A-flat major. This
Wilson, Notes on Brahms: 20 Crucial Works, 107.
Chamber Music ofJohannes Brahms, 62. Mason, "The Clarinet Sonata in F Minor, Op. 120, No. Drinker, The
96
is
22
I,"
251.
is
somewhat unusual
for
Brahms first
composed using frequent modulation
since he often
or color changes, as indicated by the
movement.
A section
is
contrasted by the
measure 27. The
B
section briefly returns to A-flat major in
However, the simplicity of the minor
the parallel (G-sharp)
in
B
section,
which begins
in
measure 31 before modulating again to the more distant key of A major (measure 35). This section of the
movement
is
very unusual since the harmonic material
major even though the key signature
is
clearly centered
written with four sharps (E major).
key signature might seem to be a misprint. However, editions, including the
is
Wiener Urtext Edition.
07
this is written the
What
is
At
first
same way
even more unusual
is
on
A
glance, the
in multiple
the fact that,
throughout the entire movement, the clarinet part stays in A-flat major with the modulations indicated by accidentals even
when
section, a re-transition begins in
measure 44, and Brahms passes through
back to the original key of A-flat major. The the clarinet plays the
melody down an octave
considerably more complex.
B
the key signature in the piano part changes. Following the
final section, A', differs
in
C
major on his way
from the beginning
measures 49-58 and the piano accompaniment
A codetta, beginning in measure 72, ends the movement.
The second movement of the sonata
in that
in particular has several discrepancies
is
QO
between the
manuscript and published editions of the piece. For example, there are three similar passages in the clarinet part (measures 5-6, 17-18, 53-54, and 65-66) that
were each originally written-as
notated in the manuscript-with different articulations on the thirty-second notes.
third instances are the
same (though
in
The
first
and
measures 17-18 the figure appears down an octave) and
the second and fourth instances are the same. In the
first
instance, the three thirty-second notes in
the clarinet part are not slurred, but they are written with a slur in the piano part. In measures
97
Johannes Brahms, "Sonata fur Klarinette (oder Bratsche) und Klavier f-Moll Op. 120 No.l," Wiener Urtext Edition, Schott/Universal Edition. 98 See Appendix Example 2 for a line graph ofithe form of this movement. aph of
23
1
7-
score, 1973.
18, the thirty-second notes in
both the clarinet part and the piano part (according to the
manuscript) were originally written with slurs, but the slurs were later crossed out. The third time, neither the clarinet part nor the piano part had slurs. In the last occurrence, neither part
was
written with a slur originally, but in the manuscript, slurs had been added to both parts." These
days,
how to
interpret these bars is usually left to the discretion
of the performer. There
is
another change in the manuscript in measures 45-48. Originally, the clarinet part included long notes meant to
accompany
the
melody
in the
piano
part, but
Brahms scratched out
the manuscript, possibly to give Miihlfeld a break before playing the
49.
these notes in
melody again
in
measure
100
For the duration of the slow movement, there
"poco forte"
at the
beginning until the "forte" marked
emotional climax of the movement. Most everything
no dynamic marking louder than the
is
at
measure 67, which serves as the
marked piano or pianissimo This
is
is
another indicator of how well Brahms understood and appreciated the characteristics of the clarinet. Estrin says, "... the
incomparable,
The
it
third
is like
it
is
an "intermezzo of the
is
somewhat unusual
lightest, gentlest sort, shot
would seem) of happier days and,
dark-toned clarinet with shimmering piano notes." overly important like
is
so
a meditation in the solitude of evening."
movement
recollections (or so
merest whisper of softest tone for which the clarinet
much for
This
movement
w
middle section, a haunting blend of
The movement
the beginning of the piece.
Brahms.
in its
It is
is in
through with
meant
is
not meant to be serious or
to be light
compound
and amusing, which
ternary form (ABA').
Mitchell Estrin, "The Brahms Sonatas: An Examination of the Manuscripts," The Clarinet (September 2006), 71-72. 100 Ibid., 72 Mason, "The Clarinet Sonata in F Minor, Op. 120, No. 1," 252-253. WI Wilson, Notes on Brahms: 20 Crucial Works, 107. Drinker, The Chamber Music of Johannes Brahms, 62. liil
24
vol.
Each
33 no. 4
of the three bigger sections of this movement can be broken
A(abb)B(cdd)A'(a
own
,
b'). In
other words, the
A
in current publications this section (A') is written out,
editions.
in this
was
written after measure 91
without the repeats.
movement between
becoming
1
.
However,
4
the manuscript and published
is
"da capo," which means
that the written out version
should be played the same as the beginning with the diminuendi instead of accents.
105
second movement, the third movement provides interesting contrast to the very somber
movement. As Daniel Gregory Mason
way
it
constantly renews
itself.
.
.
it is
gratification that fills the players."
The
final
says, "There is a tireless freshness
a dull listener
pattering rondo
who does
Like the
first
of impulse about the
not glow with
some of the
106
movement of the F Minor Sonata
composer shakes off his sadness and swings
i
their
For example, in measures 15-16, the accents on the downbeats should actually be
diminuendi. In the manuscript, this section
it
into smaller pieces,
and B sections can each be broken down into
small binary form. In the manuscript, a "da cappo"
There are some differences
down
marked "Vivace." Wilson
F minor sonata
his
which only occasionally sinks
is
into the
into
F major
work's previous
says, "the
for a cheerfully
mood of Brahmsian
f\n
The movement
regret."
is in
rondo form, though once again Brahms abandons the traditional
parameters for this form in favor of something more unique.
rondo form would be
ABACA or similar.
ABA'CB'A". The movement bugle-like calls in the clarinet.
before returning to F major.
In this
106 107
traditional layout for a five-part
movement, Brahms creates the following:
begins with an energetic introduction in the piano, followed by
The
The
A section, measures 9-36 briefly modulates to A minor
A section is followed by a short transition (measures 36-42)
See Appendix Example 3 for a 105
A
line graph of the form of this movement. "The Brahms Sonatas: An Examination of the Manuscripts," 73. Mason, "The F Minor Clarinet Sonata, Op. 120, No. 1," 253. Wilson, Notes on Brahms: 20 Crucial Works, 107. 10
Estrin,
,
25
where Brahms modulates
C
to
major for the
where
transition (measures 62-77)
it
B
section.
Following the
minor). Next,
A section, the C
of the
Brahms breaks with
restatement of the
B
is
a re-
movement (measures 73-
section modulates to the relative minor
the traditional rondo form and immediate
section (measure 142), this time in
the last time in measure 200.
section there
modulates back to F major. The re-transition includes a
restatement of the bugle-like introduction from the beginning of the 77). After the restatement
B
F major, before
the
moves
A
(D
to a
section returns for
A short, emphatic coda concludes the piece.
The fourth movement does not contain many differences between
the manuscript and
published editions. In measures 209-210, the long notes in the clarinet part were originally written as
piano
minor
Gs 109
part.
in the
This
detail, the
manuscript for the clarinet
is
how
it
is
performers should keep this change in mind while playing this movement,
also fairly unusual for
always when and
Many
how to
clarinetists
stop."
was even able
all
Gs
in the earlier statements
Brahms, though as Henry
S.
of this motive. This joyful
Drinker says, "Brahms
to
knew
110
and non-clarinetists alike have been curious about the
playing was able to inspire Miihlfeld
they were later changed to Bs in the
appears in current publications. Even though this might seem like a
especially since the half notes are
ending
part, but
Brahms
to
come
man whose
out of his compositional retirement.
The
fact that
change Brahms' s mind speaks volumes about what type of musician
he must have been. The musicianship of both the clarinetist and the composer
Minor Sonata, which demonstrates Brahms'
talent as a
is
composer combined with
evident in the F
his
knowledge
of well Miihlfeld could play his instrument. This work also shows the relationship that developed
between these two men, and 08
109
it
is
evident in the fact that the
See Appendix Example 4 for a
work was
line graph of the form of this movement. "The Brahms Sonatas: An Examination of the Manuscripts," 73. Drinker, The Chamber Music of Johannes Brahms, 62.
Estrin,
26
perfectly suited to the
Miihlfeld's style of playing and to the clarinet in general.
great musical
minds resulted
in four
It
was
the collaboration of these
two
outstanding pieces that are permanent and essential elements
of the clarinet repertoire.
27
Appendix
Example
1
:
First
Movement - Sonata Form
ToC
ToE
Minor (52)
Major (100)
ToF
To C -sharp
Minor (64)
Minor (113)
ToC Minor (67)
Recapitulation
ToE Major (132)
ToF Minor (138)
28
Example
Example
2:
3:
Second Movement - Simple Ternary Form
Third
Movement - Compound Ternary Form
A' (91-136)
29
Example
4:
Fourth
Movement - Rondo Form
Intro
A
Transition
B
(1-9)
(9-36)
(36-42)
(42-62)
F Major
F Major
Re-Transition
F Major
C Major
(62-77)
ToF Major (72)
To
A
Minor (1?)
ToC Major
(41)
ToF Major (24)
A'
C
(77-100)
(100-142)
F Major
F Major
To A
ToD
Minor (83)
Minor (103)
ToF
ToF
Major (93)
Major (140)
B'
A"
Coda
(142-200)
(200-211)
(211-220)
F Major
F Major
Major
30
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"Johannes Brahms." Available from www.OxfordMusicOnline.com, Accessed October 2009. .
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1
"Performing Brahms' Music: Clues from His Letters," in Performing Brahms: Early Evidence of Performing Style, ed. Michael Musgrave and Bernard D. Sherman. .
Cambridge: Cambridge University Press, 2003. Bozarth, George S. "Fanny Davies and Brahms' Late
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Inc.,
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31
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1
97 ,
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